Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2018. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Berkeley Symphony 2016/17 Season

5 Message from the Music Director 7 Message from the Board President 9 Message from the Executive Director 11 Board of Directors & Advisory Council 12 Orchestra 15 Season Sponsors 18 Berkeley Symphony Legacy Society 21 Program 25 Program Notes 37 Text for Shostakovich’s Symphony No. 13, Babi Yar 47 Music Director: Joana Carneiro 51 Guest Conductor: Christian Reif 53 Artists’ Biographies 65 Berkeley Symphony 71 Music in the Schools 73 2016/17 Membership Benefits 75 Annual Membership Support 82 Broadcast Dates

Mountain View Cemetery Association, a historic Olmsted designed cemetery located in the foothills of 85 Contact Oakland and Piedmont, is pleased to announce the opening of Piedmont Funeral Services. We are now 86 Advertiser Index able to provide all funeral, cremation and celebratory services for our families and our community at our 223 acre historic location. For our families and friends, the single site combination of services makes the Media Sponsor difficult process of making funeral arrangements a little easier. We’re able to provide every facet of service at our single location. We are also pleased to announce plans to open our new chapel and reception facility – the Water Pavilion in 2018. Situated between a landscaped garden and an expansive reflection pond, the Water Pavilion will be perfect for all celebrations and ceremonies. Features will include beautiful kitchen Official Wine Sponsor services, private and semi-private scalable rooms, garden and water views, sunlit spaces and artful details. Gertrude Allen | Kathleen G. Henschel & John W. Dewes | Tricia Swift The Water Pavilion is designed for you to create and fulfill your memorial service, wedding ceremony, Brian James & Shariq Yosufzai | Thomas Richardson & Edith Jackson Ed Osborn & Marcia Muggli | Peter Mandell & Sarah Coade Mandell lecture or other gatherings of friends and family. Soon, we will be accepting pre-planning arrangements. For more information, please telephone us at 510-658-2588 or visit us at mountainviewcemetery.org. Presentation bouquets are graciously provided by Jutta’s Flowers, the official florist of Berkeley Symphony. Berkeley Symphony is a member of the League of American Orchestras and the Association of California Symphony Orchestras. No photographs or recordings of any part of tonight’s performance may be made without the written consent of the management of Berkeley Symphony. Program subject to change.

May 4, 2017 3 4 May 4, 2017 Message from the Music Director

Dear Friends,

I wish to say that I miss you all very much and hoped to be there with you tonight to celebrate the close of our 2016/17 season. I am very thankful for your unconditional support during this last year photo by Rodrigo de Souza of my life as my husband and I have brought our three newest “symphonies” into the world.

It is with great pleasure to welcome you to our final concert of the season tonight. I thank my dear friend Christian Reif for stepping in for what will be another magnificent performance this season. We bring you one great work by one great composer, Dmitri Shostakovich’s 13th Symphony, written in 1962. You will have the pleasure of hearing the incomparable bass- baritone Denis Sedov. I’m grateful to the incredible Marika Kuzma for directing the men’s chorus who you will hear this evening.

The subtitle of tonight’s piece is Babi Yar. Near Kiev, it was the site of the massacre of an estimated 100-150,000 people by German soldiers during WWII. One of these episodes took place over the course of two days in September 1941, in which 33,771 Jews were killed. Shostakovich’s 13th symphony is based on this profound human tragedy, as a denunciation of anti-Semitism in all its forms.

The piece includes the words by the Russian poet Yevgeny Yevtushenko, whose recent death in April is an enormous loss to the world. Shostakovich said after reading Yevtushenko’s words:

“Many had heard about Babi Yar, but it took Yevtushenko’s poem to make them aware of it. They tried to destroy the memory of Babi Yar, first the Germans and then the Ukrainian government. But after Yevtushenko’s poem, it became clear that it would never be forgotten.

That is the power of art. Art destroys silence.”

To all of you, thank you for being here tonight and supporting Berkeley Symphony. I can’t wait to see you all again on October 5th for the beginning of our next season.

Much love,

Joana Carneiro

May 4, 2017 5 6 May 4, 2017 Message from the Board President

Greetings!

Tonight’s performance is the last mainstage program for this season, but Berkeley Symphony tirelessly continues

our work to nurture the next generation photo © Margaretta K. Mitchell of music lovers and young musicians through our Music in the Schools program. This season we’ve reached nearly 5,000 elementary and middle school children with this important partnership with Berkeley Unified Public Schools. This one-on-one music instruction is fostering a love for music in a whole new generation of young people, particularly during a time when public education in the arts is threatened in so many communities. Your support makes this program possible!

Stay tuned for exciting announcements for our 2017/18 season! Berkeley Symphony continues our mission of bringing innovative and adventurous programming to the Bay Area with our mainstage concert series at Zellerbach Hall and our Berkeley Symphony and Friends Chamber Music Series at the Piedmont Center for the Arts.

Please subscribe early for our Zellerbach series. If you have not already done so in the past, I encourage you to also join us for our chamber concerts. Each one is a splendid, intimate evening of wonderful music and truly spectacular talent.

On behalf of the Board of Directors, I offer sincere thanks to YOU, our loyal audience, for your love of Berkeley Symphony. We are all dedicated to the continued success and future endeavors of YOUR symphony, bringing new works, commissions, and old chestnuts to the Berkeley community and beyond!

Yours,

Tricia Swift

May 4, 2017 7 RETHINKING HIGH SCHOOL Created by Teachers for Students

2727 College Ave. Berkeley 510.841.8489 MaybeckHS.org

8 May 4, 2017 Message from the Executive Director

Dearest Friends,

We close our season tonight with a rare performance of the epic Shostakovich Symphony No. 13, “Babi Yar” to commemorate the 75th photo by Marshall Berman anniversary of this infamous time in history. It is the first performance in the US and likely, the world, since the recent death of the Russian poet, Yevgeny Yevtushenko, who authored the poem to which the music is set. His words serve as a potent reminder and powerful voice against the atrocities of their time and, sadly, bear all too many similarities to the harrowing acts against humanity that have since occurred in our world.

I am pleased to share with you some exciting highlights from our upcoming season. We begin the season with Beethoven’s 1st Symphony and end with his iconic 9th Symphony, a piece we have not performed for nearly 30 years. In between, we present works by John Adams, Music Alive composer-in-residence Anna Clyne, Hector Berlioz and much more.

Soloists will include Berkeley’s own Tessa Seymour performing a world premiere cello concerto, Conrad Tao returning to perform Tchaikovsky’s Piano Concerto No. 1 and Lisa Delan, soprano, and Lester Lynch, baritone, performing Gordon Getty’s Joan and the Bells.

We are very pleased to announce an exciting partnership with BAMPFA. Stay tuned for more about this very soon. For its 5th season, our Berkeley Symphony & Friends Chamber Series returns on 5 Sundays at 5. And, of course, our award-winning Music in the Schools program will continue to enrich all BUSD elementary and middle schools.

Finally, and certainly not the least of all, we thank you for your dedication to Berkeley Symphony’s adventurous and innovative programming. Your loyalty and generosity make possible the exciting premieres, collaborations, and classics you have come to expect from your Berkeley Symphony.

With deepest gratitude,

René Mandel

May 4, 2017 9 10 May 4, 2017 Board of Directors & Advisory Council

Board of Directors Executive Committee Tricia Swift, President Kathleen G. Henschel, Vice President for Governance Shariq Yosufzai, Vice President for Development Gertrude Allen, Vice President for Community Engagement John Dewes, Treasurer Brian James, Secretary René Mandel, Executive Director

Directors Advisory Council (continued) Susan Acquistapace Carolyn Doelling Paul Bennett Anita Eblé Sandra Floyd Karen Faircloth Ellen L. Hahn Bereket Haregot William Knuttel Buzz & Lisa Hines Janet Maestre Susan Hone Peter Mandell Jennifer Howard & Anthony J. Cascardi Sandy McCoy Edith Jackson Ed Osborn Kenneth A. Johnson & Nina Grove Thomas Reicher Todd Kerr Thomas W. Richardson Jeffrey S. Leiter Deborah Shidler Bennett Markel Michael Taddei Jan McCutcheon Advisory Council Bebe & Colin McRae Jan McCutcheon, Co-Chair Helen & John Meyer Lisa Taylor, Co-Chair Deborah O’Grady & John Adams Marilyn Collier, Chair Emerita Elisabeth & Michael O’Malley Michele Benson Maria José Pereira Judith Bloom Marjorie Randell-Silver & Eric Silver Norman Bookstein Kathy Canfield Shepard & John Shepard Joy Carlin Jutta Singh Ron & Susan Choy Lisa & James Taylor Marilyn & Richard Collier Alison Teeman & Michael Yovino-Young Kathy Crandall Paul Templeton & Darrell Louie Dianne Crosby Anne & Craig Van Dyke Charli & John Danielsen Yvette Vloeberghs

May 4, 2017 11 The Orchestra

Joana Carneiro Music Director Violin II (continued) Sponsored by Brian James & Shariq Yosufzai Sponsored by Helen & John Meyer Ann Eastman Sponsored by Marcia Muggli & Ed Osborn Kevin Harper Sponsored by Lisa & Jim Taylor Sponsored by Anonymous Charles Zhou Kent Nagano Conductor Laureate Rose Marie Ginsburg Christian Reif Guest Conductor Viola Tiantian Lan Principal Violin I Ilana Matfis Assistant Principal Franklyn D’Antonio Concertmaster Marcel Gemperli Matthew Szemela Associate Concertmaster Patrick Kroboth Candace Sanderson Assistant Concertmaster Ivo Bokulic Lisa Zadek Keith Lawrence Larisa Kopylovsky Alexandra Leem Daniel Banner Elyse Ader Junghee Lee Deanna Badizadegan Daniel Lewin Kristen Steiner Matthew Oshida Erica Ward Cello Ernest Yen Carol Rice Principal Sponsored by Getrude Allen Shawyon Malek-Salehi Stephanie Wu Assistant Principal John Bernstein Shain Carrasco Bert Thunstrom Krisanthy Desby Kenneth Johnson Violin II Peter Bedrossian Dan Flanagan Principal Sponsored by Tricia Swift Margaret Moores Hrafnhildur Atladottir Assistant Principal Jason Anderson David Cheng Sylvia Woodmansee Monika Gruber Bass Tess Varley Jon Keigwin Principal Christina Knudson Sponsored by East Bay Community Foundation Dagenais Smiley Alden F. Cohen Assistant Principal Rick Diamond Aleksey Klyushnik

12 May 4, 2017 Bass (continued) Horn James Coyne Alex Camphouse Principal David Horn Douglas Hull Richard Duke Alicia Telford Andrew de Stackelberg Richard Hall Corey Chandlerg Thomas Reicher

Flute Trumpet Johanna Borenstein Principal William Harvey Principal Sponsored by Janet & Marcos Maestre Kale Cumings Leslie Chin Scott Macomber Piccolo Trombone Rena Urso-Trapani Craig McAmis Principal Sponsored by Kathleen G. Henschel & John W. Dewes Oboe Craig Bryant Deborah Shidler Principal Sponsored by Jan & Michael McCutcheon Bass Trombone Stardust Kurt Patzner Ruth Stuart Tuba English Horn Jerry Olson Principal Ruth Stuart Timpani Clarinet Kevin Neuhoff Principal Mark Brandenburg Principal Karen Sremac Percussion Jeannie Psomas Ward Spangler Principal Timothy Dent Bass Clarinet Loren Mach Jeannie Psomas Benjamin Paysen

Bassoon Harp Daniel MacNeill Principal Wendy Tamis Principal Ravinder Sehgal Emily Laurance

Cynthia Hanson Piano

Contrabassoon Miles Graber Principal Cynthia Hanson continues on page 14

May 4, 2017 13 Celeste Dylan Moore Marc Shapiro Thomas Mugglestone Charles Olson

Franklyn D’Antonio Co-Orchestra Manager Anthony Pasqua Joslyn D’Antonio Co-Orchestra Manager David Rowland Quelani Penland Librarian Chung-Wai Soong David Rodgers, Jr. Stage Manager Benjamin Taube Kenric Taylor Alumni of the Chamber Chorus of the John Young University of California, Berkeley, and Juan Carlos Zepeda Guests Jacob Andreas Members of the St. John of San James Beatty Francisco Russian Orthodox Chorale Nathaniel Ben-Horin Michael Bordokoff Davide Bianculli Nicholas Kotar Philipp Blume Andrei Rusanoff Philipp Campbell Vladimir Yudin Bobby Chastain Andrew Chung Members of the Pacific Boychoir Noam Cook Henry Abrahamson Asher Davison Christopher Berning Boris DeDenko Noah Boonin Artin Der Minassians Finn Butler Alexander Ewing Liam Cochrane Scott Graff Neil Evans Sepp Hammer Tristan Friet David Hess Julian Gandhi David Huff Sasha Kourjanski Arnold Kloian Elijah Levy Max Krall William Lundquist Chris Lewis Thomas Mosley Jonathan Liu Daniel Pliskin Micah Lubensky Andrew Reinfranck David Martinez Max Ruiz Noah Miller David Schneidinger René Minneboo Brendan Singer Richard Mix Skyler Wilde

14 May 4, 2017 2016/17 Season Sponsors

ince 1967 when Donald J. Grubb founded S The Grubb Company, our community has grown and evolved. The business of transacting real estate is different too, with more complexity, more agents and fewer independent real estate companies deeply connected to our community. What has not changed is that home buyers and sellers still seek expert real estate advice, skilled representation and support from a trusted local brand. Our foundation of discipline, accountability, and teamwork is as strong as ever. Our market leadership and unmatched local knowledge are being put to work for a new generation of families in Piedmont, Berkeley, Oakland and Kensington, from our two offices in Oakland and Berkeley. We recognize that real estate is more than pricing, rates and getting to the closing table. It’s about full service and the support that anyone buying or selling something as precious as a home deserves.

cCutcheon Construction was founded in 1980 Mwith the vision of creating healthier homes, beautiful homes that endure, and homes that matter to their owners, to the community, and to the environment. Headquartered in Berkeley, the

company renovates and builds new structures photo by juliecheshire.com throughout Northern California, where it has grown its reputation as a leader in sustainable home-building practices by listening carefully to clients and responding to their deeper desires for healthier living.

ith more than 40 patents on technology Wranging from its Constellation digital acoustic system to premium loudspeakers, Meyer Sound provides solutions renowned for intelligibility and precision to restaurants, churches, sports arenas, cinemas, and stadium rock stages. An expert team of acousticians and engineers provide highly customized sound solutions in the classical world and Meyer Sound products are to support many of the world’s finest venues including Berkeley’s Zellerbach Hall, Amsterdam’s Concertgebouw, Vienna’s Musikverein and New York’s Appel Room at Jazz at Lincoln Center. Founded by Berkeley residents John and Helen Meyer in 1979, the Company is beloved by artists ranging from Celine Dion to Stevie Wonder to Metallica. The Company is a major force in the professional audio industry worldwide with more than 300 employees and all products are manufactured at the Berkeley headquarters.

May 4, 2017 15 2016/17 Season Sponsors (continued)

Gertrude Allen

ertrude Allen has lived in Berkeley since graduating G from UC more than fifty years ago. She and her husband enjoyed Berkeley Promenade Orchestra— predecessor of Berkeley Symphony—at the UC Art Museum. They have been subscribers off and on ever since. After raising two children and a ten-year period working as a Policy Analyst in the Office of the President of UC, Gertrude has engaged in volunteer work as a docent at Strybing Arboretum, the Oakland Museum and now at the East Bay Regional Parks Botanic Garden in Tilden Park. She is concerned about the future of live music and wants to do all she can to pass it along to future generations.

Kathleen G. Henschel & John W. Dewes

athleen G. Henschel, formerly finance manager K at Chevron Corporation, joined Berkeley Symphony’s Board of Directors in 2004, and was President from 2006 to 2011. An active Bay Area philanthropist, she currently serves as Treasurer of Chanticleer. John W. Dewes, formerly General Manager of Public Affairs at Chevron Corporation, is an active volunteer in Walnut Creek. He joined the Berkeley Symphony Board in 2015.

Brian James & Shariq Yosufzai

rian James is a member of Berkeley B Symphony’s Board of Directors. Shariq Yosufzai serves on the Advisory Council of Berkeley Symphony, the Board of Directors of the San Francisco Opera, and the Board of Trustees of Cal Performances, and is a past Chair of the Board of the California Chamber of Commerce.

16 May 4, 2017 Ed Osborn & Marcia Muggli

arl D. Osborn (Ed), now retired, was a E founding partner of Bingham, Osborn & Scarborough (BOS), an investment management and financial planning firm based in San Francisco and Silicon Valley. He has been on the Board of Directors of Berkeley Symphony for four years and was formerly the chair of the Finance Committee. His wife, Marcia F. Muggli, has worked for Delta Airlines for over 40 years. When not enjoying the Bay Area (and especially Berkeley Symphony), Ed and Marcia spend part of the year at their second home on Cape Cod.

Thomas W. Richardson & Edith Jackson

homas W. Richardson, Jr. joined the Board T of Directors of the Berkeley Symphony in 2015. Formerly with Blyth Eastman Dillon and Wells Fargo Investment Advisors, Tom has been an independent real asset investor and investment advisor for thirty-five years. Edith Jackson owned and operated a retail Mayan clothing and handicrafts store in San Francisco, and practiced family law in El Cerrito for over twenty years. She is a tennis player, an avid volunteer at Audubon Canyon Ranch, and serves on the Advisory Board of Berkeley Symphony.

Tricia Swift

ricia Swift is a prominent Real Estate Broker in T Berkeley and the East Bay. She has been actively involved in music throughout her life. As a college

student, she was a member of the Harvard University photo © Margaretta K. Mitchell Memorial Church Choir, and she sang with the San Francisco Symphony Chorus for twenty-four years before retiring from singing in 2010. She was also an original cast member of the inaugural production of the California Revels. She has been a member of Berkeley Symphony’s Board of Directors since 2009 and now serves as President.

May 4, 2017 17 Berkeley Symphony Legacy Society

Legacy giving will ensure that Berkeley Symphony’s music and education programs for children will continue to delight and inspire us for generations. Thank you to those who have made bequests to Berkeley Symphony as part of their estate planning. If you are interested in supporting our long-term future, please contact Mollie Budiansky at 510.841.2800 x303 or [email protected].

Legacy Society Member Lisa Taylor: In her own words . . .

“Growing up in New York City, I was introduced to classical music through Leonard Bernstein’s Young People’s Concerts and my elementary school’s arts curriculum, which encouraged every third grader to play a string instrument. I briefly played the violin before switching to piano and even studied at the Mannes School of Music while in eighth grade. “When I moved to Berkeley in 1979, I joined the Friends of the Berkeley Symphony Orchestra, eventually serving as its President for a year. Berkeley Symphony quickly became part of my extended family, and my involvement as a volunteer, Board member, and Advisory Council member has now spanned 35 years. Legacies Pledged “I greatly value the organization’s commitment Gertrude Allen to adventurous programming, its support of Joan Balter emerging composers, and its wonderful Music in the Schools program, which introduces a new Norman Bookstein & generation to the joys of listening to and making Gillian Kuehner music—an important legacy in which I am proud Kathleen G. Henschel to take part.” Kenneth Johnson & Nina Grove Jeffrey S. Leiter Legacies Received Janet & Marcos Maestre Bennett Markel Margaret Stuart E. Graupner Tricia Swift Rochelle D. Ridgway Lisa Taylor Harry Weininger

18 May 4, 2017 CAL PERFORMANCES

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May 4, 2017 19 SCHARF INVESTMENTS

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20 May 4, 2017 Program IV: Remembrance

Thursday, May 4, 2017 at 8:00 pm Zellerbach Hall

Christian Reif guest conductor

Yevgeny Yevtushenko Reading of Babi Yar text Joy Carlin director Bonnie Akimoto actor L. Peter Callendar actor Arje Shaw actor Victor Talmadge actor

Dmitri Shostakovich Symphony No. 13, Babi Yar Babi Yar: Adagio Humor: Allegretto In the Store: Adagio Fears: Largo Career: Allegretto

Denis Sedov bass Marika Kuzma chorusmaster

Men’s Chorus, to include: Alumni of the Chamber Chorus of the University of California Alumni of the Pacific Boychoir Academy Members of the St. John of San Francisco Russian Orthodox Chorale

No intermission. Duration: Approximately 80 minutes.

Tonight’s concert will be broadcast on KALW 91.7 FM on May 22, 2017 at 9pm. Please switch off your cell phones, alarms, and other electronic devices during the concert. Thank you.

program continues on page 23

May 4, 2017 21 22 May 4, 2017 C onCERT Sponsors Tonight’s performance is made possible by the generous support of

Annette Campbell-White & Ruedi Naumann-Etienne The Clarence E. Heller Charitable Foundation

Gertrude Allen | Kathleen G. Henschel & John W. Dewes | Tricia Swift Brian James & Shariq Yosufzai | Thomas Richardson & Edith Jackson Ed Osborn & Marcia Muggli | Peter Mandell & Sarah Coade Mandell

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May 4, 2017 23 24 May 4, 2017 Program Notes

Dmitri Shostakovich was preoccupied with the last- (1906-1975) minute details for two significant premieres. Any new Shostakovich Symphony No. 13 in B-flat symphony was bound to be a high- minor, Op. 113 (Babi Yar) profile event, but the unveiling of his Thirteenth Symphony was Dmitri Shostakovich was born fraught with even more than the on September 25, 1906, in Saint usual political tension. For the Petersburg, Russia and died on August first time since his Third (1930), the 9, 1975, in Moscow. Shostakovich composer was including voices composed his Symphony No. 13 in B-flat in one of his symphonies, and minor in 1962, setting texts by the young the texts he had chosen to set for Russian poet Yevgeny Yevtushenko. the Thirteenth were by the highly First performance: December 18, 1962, controversial young poet Yevgeny with soloist Vitali Gromadsky andKirill Yevtushenko. Born in 1932 in Siberia, Yevtushenko remained a Kondrashin conducting the Moscow lightning rod in the Soviet cultural Philharmonic Orchestra and the landscape but eventually settled in Republican State and Gnessin Institute the United States (and died just last Choirs. In addition to solo bass and bass month in Tulsa, Oklahoma, where chorus, the Symphony No. 13 is scored he had for many years taught at the for 2 flutes and piccolo, 3 oboes (3rd University). doubling English horn), 3 clarinets (2nd doubling E-flat clarinet, 3rd doubling The other premiere in the works bass clarinet), 3 bassoons (3rd doubling involved his ill-fated opera, now contrabassoon), 4 horns, 3 trumpets, revived and retitled in an officially 3 trombones, tuba, timpani, triangle, approved version. Katerina Izmailova castanets, slapstick, wood block, was Shostakovich’s revision of his tambourine, snare drum, bass drum, second opera, Lady Macbeth of the cymbals, bells, tam-tam, glockenspiel, Mtsensk District, which, in 1936, at xylophone, 2 harps (minimum), the height of its success, had been celesta, piano and strings. Duration: denounced in Pravda as an offense approximately 65 minutes. to good Soviet principles.

At least the composer had survived n December 1962—just two that attack—during the height of I months after the Cuban Missile Stalinist terror—but it derailed the Crisis—Dmitri Shostakovich opera career of one of the century’s

May 4, 2017 25 26 May 4, 2017 most brilliantly gifted writers 1960 Shostakovich became an for the stage. After managing official member of the Communist to reinstate himself into official Party—for reasons that remain favor thanks to the enthusiastic passionately debated. His Twelfth reception of his Fifth Symphony Symphony carried on from the in 1937, Shostakovich became a Eleventh to memorialize the national hero with the morale- Revolution of 1917 (in a score that is boosting triumph of his Seventh widely considered to be the weakest Symphony (Leningrad) (while in of his symphonies). Seen in this the West he was also lionized, context, the Thirteenth Symphony even appearing on the cover of took a notably subversive turn by TIME). But that didn’t spare him addressing what was the taboo from having to endure yet another topic of anti-Semitism. official denunciation after the Shostakovich had been deeply Second World War. moved by Yevtushenko’s Babi Yar The genre of the symphony in when it was published in the fall of general remained a potentially 1961. The poem’s title refers to the dangerous undertaking, even when site (in present-day Ukraine) where no text was involved. Then came the Nazis murdered about 34,000 another rebound. The enormous of Kiev’s Jewish men, women, and success of the Eleventh Symphony children, a few months after Hitler’s of 1957—a paean to the Russian invasion of the Soviet Union in 1941. Revolution of 1905—had recently No monument to the victims had enhanced Shostakovich’s standing, been allowed: it was official Soviet and by 1959, as the biographer policy to suppress the fact that the Laurel Fay observes, he had been massacre had specifically targeted assured that his opera would be Jews and was in fact an early phase rehabilitated (though there were in the Holocaust. Yevtushenko’s still more delays before this came poem triggered a backlash for to pass in January 1963, more daring to confront the Soviet than a quarter century after Lady Union’s own anti-Semitism and Macbeth’s condemnation). Nikita for pointing out that it was hardly Khrushchev’s denunciation of confined to the unenlightened Stalin ushered in a so-called “thaw” past but still flourished in the self- that allowed artists a cautious (and proclaimed Socialist Paradise. short-lived) feeling of hope for The reaction from critics, all too relaxed restrictions. familiar from similar responses to All of these developments had a such current efforts as the Black direct bearing on the composer’s Lives Matter movement, was that frame of mind when he composed non-Jews had been victims as well his Thirteenth Symphony. In and that Yevtushenko was inciting

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28 May 4, 2017 ethnic conflict. (In fact the first choral symphony. He went so far monument was not built until after as to ask the poet to write a brand- Shostakovich’s death, in 1976—and new poem for this purpose (which that was directed only to Soviet serves as the fourth movement, citizens and POWs.) “Fears”).

“In the entire legal postwar Soviet This was dangerously provocative literature, this was virtually the material, and the premiere first attempt to remove the taboo in December 1962 was highly from the subject of anti-Semitism,” anticipated. There are conflicting writes Levon Hakobian in The reports of what actually happened Music of the Soviet Era. Around the at the event, but in the lead-up, time Bob Dylan was recording his Shostakovich had to deal with two first album for Columbia Records, singers dropping out and thus a Yevtushenko emerged as the voice last-minute replacement for the of a new generation in the Soviet bass soloist—and the composer Union. “After the stifling fear of the had been especially concerned Stalin years,” writes Eric Roseberry, about getting the casting for that “Yevtushenko’s unprecedented part just right. Even more hurtfully, denunciation of the evils in Soviet the conductor Yevgeny Mravinsky, society (in this case, anti-Semitism) long a champion of Shostakovich, was representative of a younger turned down his invitation to unveil generation in whom the fear of the the new symphony—allegedly on State was less deeply ingrained and the grounds that he didn’t feel up who were desperate for political to handling a choral symphonic change.” score, but political pressure seems likely to have played a role. A rift Shostakovich, a passionate ensued that was never healed. In opponent of anti-Semitism, his place, Kirill Kondrashin—who was so taken by Babi Yar that he had led the belated premiere of the commenced writing a single- long-suppressed Fourth Symphony movement setting for orchestra, a year before, in 1961—accepted the bass soloist, and men’s chorus. task. When he met with the young poet to request permission to set the poem, On top of all this, Khrushchev had reports Laurel Fay, Shostakovich embarked on a new campaign admitted to Yevtushenko that the for “ideological purity” in the music was already a fait accompli. arts and had recently flared up at The rapport between composer and Yevtushenko. The possibility that poet intensified as Shostakovich, the performance in Moscow would inspired by Yevtushenko’s next be canceled must have seemed volume, decided to set several cruelly déjà vu for Shostakovich; more poems and thus to fashion a it was only on the day scheduled

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Manager: June McDaniels Music for Your Life Realtors: Kathleen Crandall Cheryl Berger Mark Hardwicke Maya Hiersoux Sarah Torney Sucheta Dhupelia Jaima Roberts Proud supporter of the Berkeley Symphony Sunan Attanayake Christopher Anderson Victoria Tseng Berkeley Regional Office: 2095 Rose St. | 510.868.1400 Brenda Walker masonmcduffie.bhgre.com/berkeley-regional Teresita Monroe

30 May 4, 2017 for the concert that final approval composition while recuperating in arrived. the hospital.

The composer’s great friend Isaak As a musical conception, the Glikman reported a tumultuous Thirteenth is unusual in being an success: “At the end of the finale, all-choral symphony. Beethoven’s the audience rose up as one and Ninth had its imitators, but there erupted in tempestuous applause. were far fewer precedents for a It seemed to go on forever.” Yet symphony employing chorus from the official Soviet press essentially beginning to end. Mahler, one of ignored the Thirteenth (aside Shostakovich’s idols, wrote such a from a small notice that refused work in his Eighth Symphony. Even to mention the title of the first more, the chorus in question is movement, referring only to a strictly male, and for basses only, “mournful requiem”). There was who are mostly given unison lines no actual ban, but Yevtushenko to sing. Shostakovich’s experiences was required to emend the text re-orchestrating the epic operas of his Babi Yar poem to mention Boris Godunov and Khovanshchina by Russians and Ukrainians as equal his predecessor Modest Mussorgsky victims alongside the Jews. The first also left their mark. recording used this version, to the At first glance, the use of poems composer’s chagrin. that are so far-ranging in topic His music per se was not viewed as and tone (even though by the problematic: “It was the words,” same poet) might suggest a Laurel Fay points out. “On its own, composition more in the spirit of Shostakovich’s music defied no an orchestral-choral song cycle. stylistic taboos and was hardly Yet even if the composer himself controversial.” harbored doubts as to whether the work truly constituted a symphony, Despite—or precisely because of— he resorted to unifying devices these tribulations, the Thirteenth and cross-references within his Symphony held special significance large canvas. “In the Thirteenth for Shostakovich. For the rest of his Symphony I dealt with the problem life, he celebrated the anniversary of civic, precisely civic,’’ morality,” of its completion (July 20, 1962) Shostakovich declared. What linked with his new wife, Irina Supinskaya, the poems, according to Fay, was whom he also married that year. Did “their bold engagement with social he associate it with some kind of and political ills in contemporary personal catharsis? Shostakovich Soviet life.” would battle numerous health ailments during the years he had The most important unifying motif remaining, and worked on the is stated at the outset of the five-

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32 May 4, 2017 movement work, which begins with the harrowing Babi Yar poem. A tolling bell and a tight, four-note chromatic phrase has been labeled BEST SELECTION & QUALITY the “Babi Yar motif”: in this form and in various permutations, it TILE is woven through much of what DESIGN YOUR TILE is to come. The first movement PROJECT IN OUR STORE intersperses episodes from the HANDMADE SINKS, GARDEN history of anti-Semitism between & TABLEWARE, & MORE... different versions of the opening TALAVERA CERAMICS & TILE Adagio music and includes one of 1801 University (at Grant), Berkeley Open Mon-Sat 10-6, Sun 12-6 Shostakovich’s most fearsomely 510-665-6038 www.TalaveraCeramics.com sustained climaxes.

“Humor,” as the shorter second movement is described, is not about comic escape or relief but another form of political subversion against authoritarian power. (Just think of the impact of a satirical Saturday Night Live skit of late.) Shostakovich’s setting of Yevtushenko’s clever poem is vividly The Academy colorful in its antic mockery— Uncommon Excellence comparisons to the virtuoso of Thought and Character in musical snarking in Richard Strauss’ tone poem Till Eulenspiegel come to a Vibrant School Community mind—and even includes a self- The Academy is an independent K-8 citation of one of the Russian’s school with a 45-year legacy of academic rigor in a fun and nurturing environment: earlier settings of a Robert Burns poem about an impending • Experienced, passionate teachers execution. • Commitment to small class sizes • Highly-interactive instruction The last three movements all • Challenging curriculum follow without pause: two Visit our website to learn more: slow movements followed by a www.theacademyschool.org remarkably varied, summarizing, finale. “At the Store” paints The Academy a portrait of Russian women 2722 Benvenue Ave. Berkeley patiently waiting and ensuring their 510.549.0605 families’ survival. It takes the form of variations and begins with a

May 4, 2017 33 hauntingly desolate idea in the low hairpin crescendo on bass drum.” strings. Shostakovich alternates Shostakovich begins the final the solo bass and the chorus, with movement (“Career”) with an writing for the percussion section extraordinary extended passage that evokes the dreary passage of for duetting flutes. The overall form time. is, like that of “Humor,” a rondo, In his fine survey of Shostakovich’s with the voices assigned to the symphonies and concertos, David contrasting episodes. Shostakovich Hurwitz notes a similarity in ethos assigns the more complex musical between the beginning of the Largo commentary to the orchestra, fourth movement (“Fears”) and including a fugal section, which is then given the last word in a the final movement of Mahler’s stirringly gentle postludial section. “Tragic” Sixth Symphony (his most forbidding score). One element “The uninhibitedly populist Shostakovich learned from Mahler, style of this work,” observes the writes Hurwitz, “was that of the musicologist Eric Roseberry, “is a musical gesture, often consisting of high-water mark in the composer’s a simple noise from the percussion capacity to embrace an audience section or a brief chord of cluster of at many different levels of cultural notes almost too short to even be response, from the sophisticated called a motif. [The Thirteenth] is intelligentsia to the untutored ear of littered with them: the tolling bell, the naive music lover.” the tapping rhythm on woodblock —© Thomas May and castanets, . . . and a soft stroke Thomas May writes about the arts and on the tam-tam followed by a blogs at memeteria.com.

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36 May 4, 2017 Text for Shostakovich’s Symphony No. 13, Babi Yar

Text by Yevgeny Yevtushenko Translation by Marika Kuzma

I. Babi Yar I. Babi Yar

Nad Babim Yarom pamyatnikov nyet. On Babi Yar, there are no monuments. Krutoi obryv, kak gruboye Its steep ravine is like a grotesque nadgrobye. gravestone. Mnye strashno. I’m frightened. Mne sevodnya stolko let, Today I feel as old in years kak samomu yevreiskomu narodu. as all the Jewish people.

Mnye kazhetsya seichas— It seems to me right now— ya iudei. I am a Jew. Vot ya bredu po drevnemu See how I trudge through ancient Egiptu. Egypt. A vot ya, na kreste raspyati, And see how, hanging on the cross, I gibnu, perish, i do sikh por na mnye—sledy gvozdei. and to this day I bear the scars of nails.

Mnye kazhestya, shto Dreifus— I feel right now that Dreyfus— eto ya. I am he. Myeshchanstvo— The bourgeoisie— moi donoschik i sudya. are my accuser and my judge. Ya za reshotkoi. I’m behind bars. Ya popal v koltso, I’ve fallen in a snare. Zatravlennyi, Persecuted, oplyovannyi, spat upon, obolgannyi, slandered. I damochki s Bryusselskimi And dainty ladies in their fancy oborkami, Brussels frills vizzha, zontami tychut mnye v squealing, poke me in the face with litso. parasols.

Mnye kazhetsya— It seems to me— ya malchik v Belostoke. I am a boy in Byelostok. Krov lyotsya, rastekayas po Blood gushes, spilling onto all the polam, floors. Byeschinstvuyut vozhdi traktirnoi The ringleaders in bars are on a stoiki rampage i pakhnut vodkoi s lukom and stink of vodka and onion half- popolam. and-half.

May 4, 2017 37 Ya, sapogom otbroshennyi, I, kicked aside by a big boot, am bessilnyi. helpless. Naprasno ya pogromshchikov molyu. In vain, I plead with bully-pogromites. Pod gogot: To loud jeers, “Byei zhidov, spasai Rossiyu!” “Beat the Yids, save mother Russia!” Labaznik izbyevayet mat a grain merchant beats up my poor moyu. mother.

O russkyi moi narod! O, my good Russian folk! Ya znayu— I well know— ty you po sushchnosti internazionalen. are by your nature international. No chasto te, chi ruki nechisty, But often those, with unclean hands, tvoim chisteishim imenem have made a mockery of your pure bryatsali. name.

Ya znayu dobrotu moyei I know so well the goodness of your zemli. land. Kak podlo, How awful, shto i zhilochkoi ne drognuv, that without the twitch of ev’n a vein antisemity the anti-Semites pompously have narekli proclaimed sebya “Soyuzom Russkovo themselves “The Union of the Naroda!” Russian People!”

Mnye kazhetsya ya— It seems to me— eto Anna Frank, that I am Anna Frank, prozrachnaya, so transparent, kak vyetochka v aprele, just like a twig in April. I ya lyublyu. And I’m in love. I mne nye nado fraz, And I’ve no need of phrases. No nado, I just need shtob drug v druga my smotreli. for us to gaze into each other. Kak malo mozhno videt, How little we can see, obonyat! can smell!

Nyelzya nam listyev We are forbidden leaves, i nelzya nam neba. and are denied the sky. No mozhno ochen mnogo— Yet we can do so much— eto nezhno that is: to tenderly drug druga v tyomnoi komnate embrace each other in a darkened obnyat. room.

38 May 4, 2017 Syuda idut? They’re coming here? Nye boisya—eto guly Fear not—that’s just the buzzing samoy vesny— of the spring— ona syuda idyot. she’s coming here. Idi ko mnye. Come close to me. Dai mnye skoreye guby! Give me speedily your lips! Lomayut dvyer? They’re busting down the door? Nyet—eto ledokhod . . . No—it’s the drifting ice . . .

Nad Babim Yarom shelest dikikh trav. On Babi Yar, a rustle of wild grasses. Derevya smotryat grozno, The trees observe us sternly, po-sudeiski. like a jury. Zdes, molcha vsyo krichit, Everything here silently screams out, i, shapku snyav, and I, taking off my cap, ya chuvstvuyu, I sense myself, kak myedlenno sedeyu. how slowly I am graying.

I sam ya, And I myself, kak sploshnoi bezzvuchnyi krik, am like a massive, soundless scream nad tysyachami tysyach above the thousands upon thousands pogrebyonnykh. buried. Ya— I— kazhdyi zdes rasstrelyannyi starik. am ev’ry old man here shot dead. Ya— I— kazhdyi zdes rasstrelyannyi am ev’ry small child here shot rebyonok. dead.

Nichto vo mnye No part of me pro eto nye zabudet! can lose the memory of this! “Internatsional” The “Internationale” pust progremit, o let it thunder, kogda navyeki pokhoronen budet on the day we bury for eternity poslednyi na zemle antisemit. the final anti-semite of this earth.

Yevreiskoi krovi nyet v krovi No Jewish blood is found within my moyei. blood. No nenavisten zloboi But I, despised by all their twisted zaskoruzloi evil, ya vsem antisemitam, I’m to all anti-semites kak yevrei, like a Jew, i potomu— and that is why— ya nastoyashchyi russkyi! I’m a true, steadfast Russian.

May 4, 2017 39 II. Yumor II. Humor

Tsari, Tsars, koroli, kings, imperatory, emperors, vlastiteli vsei zemli, rulers of the world, komandovali paradami, lorded over all parades no yumorom— but over humor— nye mogli. they could not. V dvortsy imenitykh osob, At palaces of eminant people, vse dni volzezhashchikh vykholenno, reclined and dressed up every day, yavlyalsya brodyaga Ezop, the vagabond Aesop would show up, i nishchimi and make them oni vyglyadeli. look the lesser.

V domakh, gde khanzha In homes where scoundrels might nasledil have left Svoimi nogami some traces of their tiny, narrow shchuplymi, feet, Vsyu poshlost All their nonsense Khodzha Nasreddin Hadji Nasr-ed-Din sshibal, would sweep away kak shakhmaty, as off a chessboard shutkami. with his jokes. Khoteli They wanted humor to buy kupit— humor— Da tolko yevo nye kupish! The thing is, you just can’t buy him! Khoteli They wanted yumor to kill ubit— humor— A yumor pokazyval kukish! But humor just flipped off his finger!

Borotsya s nim— To battle with him— delo trudnoye, is tough business. Kaznili evo bez kontsa. They executed him again and again. Evo golova His severed head, freshly obtrublennaya chopped-off torchala na pike streltsa. would swing around the soldier’s pike. No lish skomoroshi dudochki Just when the minstrel’s little pipes svoi nachinali skaz, Would start their epic tale on zvonko krichal: He’d brashly scream:

40 May 4, 2017 “Ya tutochki!”— “Hey, I’m right here!”— i likho puskalsya v plyas. and sprightly start to jig.

V potryopannom kutsem paltishke, In a tattered skimpy overcoat, ponuryas all downcast, i slovno kayas, feigning to repent, prestupnikom politicheskim charged as a political prisoner on, he poimannyi, captured, shol na kazn. would amble to his death. Vsem vidom pokornost To every appearance he looked vykalzyval: docile, “gotov k nezemnomu zhityu.” “I’m ready for the afterlife.” Kak vdrug iz paltishka Then suddenly, he’d slip out of his vyskalzyval, coat, rukoi makhal wave with his hand i tyu-tyu! and bye-bye!

Yumor They tucked pryatali humor v kamery, in a cell, da chorta s dva udalos. no way in hell did they succeed. Reshotki i steny kamennyye Iron bars and walls of stone on prokhodli naskvoz. he’d pass right through. Otkashlivayas prostuzhenno, Clearing his cough from a cold, kak ryadovoi boyets like an ordinary footsoldier, shagal on chastushkoi-prostushkoi he’d step to a simple old ditty s vintovkoi na Zimnyi with rifle in hand to the Winter Dvoryets. Palace.

Privyk on ko vzglyadam sumrachnym, He’s used to all gloomy glances, no eto yemu nye vredit, these don’t offend in the least, i sam na sebya s yumorom and at himself with humor yumor poroi glyadit. Humor glances now and then. On vechen. He’s eternal. On lovok i yurok. He’s wily and wiry. Prodyot cherez vsyo, He’ll get through all things, cherez vsekh. everyone. Itak, And so, da slavitsya yumor! all hail to humor! On— He— muzhestvennyi chelovek. is a valiant manly man.

May 4, 2017 41 III. V magazine III. In the Store

Kto v platke, a kto v Some in shawls and some in platochke, kerchiefs, kak na podvig, kak na trud, as to battle, as to work, v magazin poodinochke one by one into the grocery molcha zehnshchiny idut. silently the women go.

O bidonov ikh bryatsanye, From their bottles such a clanging, zvon butylok i kastryul! jangling of their pots and pans! Pakhnet lukom, ogurtsami, Smells of onions and of pickles, pakhnet sousom “Kabul.” pungent smells of sauce “Kabul.”

Zyabnu, dolgo v kassu stoya, Shiv’ring, I stand near the cashier, no pokuda dvizhus k nei, but as I move closer in, Ot dykhanya zhenshchin stolkikh from the many women breathing, v magazine vsyo teplei. it gets warmer in the store.

Oni tikho podzhidayut— Their turn they await so calmly— bogi dobryye sem’i, these good gods of families, i v rukakh oni szhimayut in their hands they clutch so closely dengi trudnyye svoi. money earned laboriously.

Eto zhenshchiny Rossii, These are women of our Russia. Eto nasha chest i These: our conscience and our sud. pride. I beton oni They have churned and mixed our mesili, concrete i pakhali, i and they’ve ploughed, and kosili . . . harvested . . . Vsyo oni perenosili, They’ve endured it all; vsyo oni perenesut. everything they will endure.

Vsyo na svete im posilno— All on earth is in their power,— skolko sily im dano. they are given so much strength. Ikh obschityvat postydno. To short-change them, it is shameful. Ikh obveshivat gryeshno. To short-weigh them is a sin.

I, v karman pelmeni sunuv, Slipping dumplings in my pocket, ya smotryu, smushchen i tikh, I, exhausted, look at them, na ustalyye ot sumok at their limp from shopping bags ruki pravednyye ikh. at their righteous, saintly hands.

42 May 4, 2017 IV. Strakhi IV. Fears

Umirayut i Rossii strakhi In Russia, fears are dying away slovno prizraki prezhnikh let. just like the phantoms of yesteryear. Lish na paperti, kak starukhi, Only on church steps, like old people, koye-gde eshcho prosyat na khleb. here and there they still beg for bread.

Ya ihk pomnyu vo vlasti i I remember them in strength and sile power pri dvore torzhestvuyushchei lzhi. at the court of triumphant lies. Strakhi vsyudu kak teni Fears slithered everywhere like skolzili, shadows, pronikali vo vsye etazhi. infiltrated every floor.

Potikhonku lyudei Slowly but surely they tamed the priruchali people, i na vsyo nalagali pechat: on everything affixed their seal: Gde molchat by— where one should keep silent— krichat priruchali, they taught us to scream, i molchat— and to hush— gde by nado krichat. where screaming was needed.

Eto stalo sevodnya dalyokim, This has become today so far-off. Dazhe stranno i vspomnit teper. It’s even bizarre to recall it now. Tainyi strakh pered chim-to The secret fear of whatever donosom, news, Tainyi strakh pered stukom v dver. The secret fear of a knock at the door.

Nu, a strakh govorit s And the fear of speaking with a inostrantsem? foreigner? S inostrantsem—to shto, a s With a stranger—nothing, but with your zhenoi? wife? Nu a strakh bezotchotnyi And the unfounded fear of being left ostatsya alone posle marshei vdvoyom s after marches, partnered with only tishinoi? silence?

Nye boyalis my stroit v We weren’t scared of building during meteli, blizzards, ukhodit pod snaryadami v boi, of marching into battle under fire, no boyalis poroyu but at times we were scared half to smertelno death

May 4, 2017 43 razgovarivat sami s sobo. of conversing alone with ourselves.

Nas nye sbili i nye We didn’t get beat down or rastlili, corrupted, i nyedarom seichas vo vragakh, and as a result amid its foes, pobedivshaya strakhi having conquered her own fears, our Rossiya, Russia yeshcho bolshyi rozhdayet strakh. has engendered even greater fears.

Strakhi novyye vizhu, New fears I see arising, coming to svetleya: light: strakh neiskrennim byt so the fear of being false with one’s own stranoi, country, strakh nepravdoi unizit idei, the fear of degrading ideas with lies shto yavlyautsya pravdoi samoi! that appear to be the very truth! strakh fanfarit do odurenya, the fear of boasting to a stupor, strakh chuzhiye slova the fear of repeating a stranger’s povtoryat, words, strakh unizit drugikh the fear of belittling others with nedoveryem mistrust i chrezmerno sebe dover and of trusting oneself beyond yat. measure.

Umirayut v Rossii strakhi. In Russia, fears are dying away. I kogda ya pishu eti stroki And as I write these very lines i poroyu nevolno and rush somewhat in spite of speshu, myself, to pishu ikh v yedinstvennom I write them with the one and only strakhe, fear, shto nye v polnuyu silu that I am writing them without full pishu. strength.

V. Karyera V. Career

Tverdili pastyri, shto vreden The clergy held that Galileo i nerazumen Galilei. was a wicked and a senseless man. No, kak pokazyvayet vremya: But, as time has demonstrated, kto nerazumnei, tot umnei. he who’s senseless is the wiser.

Uchonyi, sverstnik Galileya, A scholar peer of Galileo’s byl Galileya ne glupeye. was no less wise than Galileo.

44 May 4, 2017 On znal, shto vertitsya zemlya, He knew that planet earth revolved, no u nevo byla semya. but, well, he had a family.

I on, sadyas s zhenoi v And stepping in a carriage with his karetu, wife, svershiv predatelstvo svoyo, having accomplished his betrayal, schital, shto delayet he thought he was advancing his karyeru, career, a myezhdu tem gubil yeyo. but in the meantime ruined it.

Za osoznaniye planety For his assertions about planets shol Galilei odin na risk. Galileo took the risk alone. I stal velikim on . . . Vot And he became a great man . . . eto Now this ya ponimayu—karyerist! to my mind—is a careerist!

Itak, da zdravstvuyet karyera, And so, three cheers to a career, kogda karyera takova, when that career is just like kak u Shekspira i Pastera, that of Shakespeare and Pasteur, Nyutona i Tolstovo . . . of Newton and Tolstoy . . . Lva? Lva! Leo? Leo!

Zachem ikh gryazyu pokryvali? Why did people sling mud at them? Talant—talant, kak ni kleimi. Talent’s talent, call it what you will. Zabyty te, kto Those who cursed them are proklinali. forgotten; no pomnyat tekh, kovo klyali, we remember the accursed.

Vse te, kto rvalis v All those whose goals were stratosferu, stratospheric, vrachi, shto gibli ot the doctors, who died fighting kholer, cholera,— vot eti delali these are the ones who made karyeru! careers! Ya s ikh karyer beru primer. From their careers I take example.

Ya veryu v ikh svyatuyu I do believe in their most sacred veru. faith. Ikh vera—muzhestvo mayo. Their faith—shall be my courage. Ya delayu sebe karyeru I am making my career tem, shto nye delayu yeyo! thus: by my not pursuing it!

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46 May 4, 2017 Music Director: Joana Carneiro

oted for her vibrant performances Nin a wide diversity of musical styles, Joana Carneiro has attracted considerable attention as one of the most outstanding young conductors working today. In 2009, she was named Music Director of Berkeley Symphony, succeeding Kent Nagano and becoming only the third music director

in the 40-year history of the orchestra. photo by Rodrigo de Souza She also currently serves as official guest conductor of the Gulbenkian Orchestra, working there at least four weeks every year. In January 2014 she was appointed Principal Conductor of the Orquesta Sinfonica Portuguesa and Teatro Sao Carlos in Lisbon.

Carneiro’s growing guest-conducting career continues to develop very quickly. Recent and future highlights the world stage premiere of John include engagements with the Adams’ The Gospel According to the Other Royal Stockholm Philharmonic, Mary, and recently she conducted a Swedish Radio Symphony, production of La Passion de Simone at Helsinki Philharmonic, Hong Kong the Ojai Festival. Joana also works Philharmonic and the Gothenburg regularly with singer/song-writer Symphony, as well as a production of Rufus Wainwright, conducting his Van der Aa’s Book of Disquiet with the orchestral programme in Lisbon and London Sinfonietta. In 2016/17 she Hong Kong in 2015/16. made her debut with the San Francisco Elsewhere Joana has previously Symphony, at London’s Barbican with conducted the Royal Liverpool the Britten Sinfonia, and at Theater Philharmonic, Royal Philharmonic Bonn in Germany. Orchestra, Orchestre Philharmonique She continues to be sought after for de Radio France, Ensemble Orchestral contemporary programmes and in de Paris, Orchestra de Bretagne, 2014/15 she made her debut at the Norrköping Symphony, Norrlands English National Opera conducting Opera Orchestra, Residentie Orkest/

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48 May 4, 2017 Hague, Prague Philharmonia, Malmo served as Assistant Conductor of Symphony, National Orchestra of the L.A. Chamber Orchestra and as Spain and the Orchestra Sinfonica del Music Director of the Young Musicians Teatro la Fenice at the Venice Biennale, Foundation Debut Orchestra of Los as well as the Hong Kong Philharmonic, Angeles. From 2005 through 2008, she Macau Chamber Orchestra and Beijing was an American Symphony Orchestra Orchestra at the International Music League Conducting Fellow at the Los Festival of Macau. In the Americas, she Angeles Philharmonic, where she has led the Los Angeles Philharmonic, worked closely with Esa-Pekka Salonen Toronto Symphony, St. Paul Chamber and led several performances at Walt Orchestra, Detroit Symphony, Disney Concert Hall and the Hollywood Colorado Symphony, Indianapolis Bowl. Symphony, Los Angeles Chamber Orchestra, New World Symphony and A native of Lisbon, she began her São Paulo State Symphony. musical studies as a violist before receiving her conducting degree from In 2010, Carneiro led performances of the Academia Nacional Superior Peter Sellars’ stagings of Stravinsky’s de Orquestra in Lisbon, where she Oedipus Rex and Symphony of Psalms studied with Jean-Marc Burfin. at the Sydney Festival, which won Carneiro received her Masters degree Australia’s Helpmann Award for Best in orchestral conducting from Symphony Orchestra Concert in 2010. Northwestern University as a student She conducted a linked project at the of Victor Yampolsky and Mallory New Zealand Festival in 2011, and as Thompson, and pursued doctoral a result was immediately invited to studies at the University of Michigan, work with the Sydney Symphony and where she studied with Kenneth Kiesler. New Zealand Symphony orchestras on She has participated in master classes subscription. with Gustav Meier, Michael Tilson As a finalist of the prestigious Thomas, Larry Rachleff, Jean Sebastian 2002 Maazel-Vilar Conductor’s Bereau, Roberto Benzi and Pascal Competition at Carnegie Hall, Rophe. Carneiro was recognized by the jury for demonstrating a level of potential Carneiro is the 2010 recipient of the that holds great promise for her future Helen M. Thompson Award, conferred career. In 2003-04, she worked with by the League of American Orchestras Maestros Kurt Masur and Christoph to recognize and honor music von Dohnanyi and conducted the directors of exceptional promise. London Philharmonic Orchestra, In 2004, Carneiro was decorated as one of the three conductors by the President of the Portuguese chosen for London’s Allianz Cultural Republic, Mr. Jorge Sampaio, with the Foundation International Conductors Commendation of the Order of the Academy. From 2002 to 2005, she Infante Dom Henrique.

May 4, 2017 49 50 May 4, 2017 Guest Conductor: Christian Reif

conducting the Seiji Ozawa Interna- tional Academy Switzerland. He has also repeatedly worked as assistant and cover conductor for the Los photo by Tomas Loewy Angeles Philharmonic, for the Boston Symphony Orchestra, and for Alan Gilbert at the New York Phil Biennial. Christian Reif is currently a member of Germany’s prestigious Conductor’s Forum (Dirigentenforum). He won the German Operetta Prize 2015, awarded by the German Music Council. Highlights of Mr. Reif’s 2015/16 sea- son included leading the Munich Chamber Opera in performances of erman conductor Christian Reif Mozart’s La finta semplice in Munich’s joined the San Francisco Sym- G Cuvilliés Theater and performing with phony as their Resident Conductor the Meininger Hofkapelle. As part of and Wattis Foundation Music Director efforts to bridge cultures through of the internationally acclaimed San music, he led the Deutsche Staatsphil- Francisco Symphony Youth Orchestra harmonie Rheinland-Pfalz in the (SFSYO) in the 2016/17 season, after world premiere of Mehmet C. Yesilçay’s making a “powerful symphony debut” Lieder aus der Fremde, which addresses with the Symphony in fall 2015. the current European refugee crisis. For the past two seasons, he was With this same orchestra, Mr. Reif will the Conducting Fellow with the New make his debut at the international World Symphony in Miami, assisting festival Heidelberger Frühling in April, Music Director Michael Tilson Thomas conducting Mozart’s Jupiter Symphony and leading the orchestra in a large and Mahler’s Das Lied von der Erde with number of varied concerts. Sum- Michelle DeYoung and Toby Spence. mer 2015 saw Mr. Reif conduct the Mr. Reif has led several orchestras and Tanglewood Music Center Orchestra ensembles both in the US and abroad in several world premieres as part of such as the Lakes Area Music Festival Tanglewood’s 75th anniversary sum- Orchestra, The Juilliard Orchestra, mer, which led to his appointment as a Salzburg Chamber Soloists, Georgian Tanglewood conducting fellow for the Chamber Orchestra, and the Israel summer of 2016. During that appoint- Chamber Orchestra. He has performed ment, he stepped in for Seiji Ozawa, with soloists including Dawn Upshaw,

May 4, 2017 51 Sanford Sylvan, Julia Bullock and Bar- bara Bonney. His enthusiasm in performing contem- porary music has led to many world premieres; among those are Michael Gordon’s El Sol Caliente, a city symphony in honor of Miami Beach’s centennial; Ted Hearne’s Dispatches, part of the New Voices project, which Mr. Reif led both in Miami and in San Francisco; and also concertos for DJ and orchestra, per- formed at the PULSE events of the New World Symphony, when the concert hall is transformed into a nightclub. A dedicated and enthusiastic educator, he has taught piano, coaches instru- mentalists and works with singers as a répétiteur. Mr. Reif also worked as a Teaching Fellow in The Juilliard School’s Ear Training Department and served additionally as its Department Assis- tant. The Education Concerts 2014-2016 at the New World Symphony, which he hosted and conducted, were also broadcasted globally online. Christian also has been involved in the National YoungArts Foundation as a Music Mas- ter Teacher. In 2014, Mr. Reif completed his Master of Music in Conducting at The Juil- liard School under Alan Gilbert, after studying with Dennis Russell Davies at the Mozarteum Salzburg. For his out- standing achievements at The Juilliard School, Christian Reif is the recipient of the Charles Schiff Conducting Award. He also holds a scholarship from the German study promotion program of the Cusanuswerk and two Kulturförder- preise, awards given to promising art- ists of the region who promote cultural advancement in their communities.

52 May 4, 2017 Artists’ Biographies

No. 13 with the Berkley Symphony and concert performances of “Russian Romances” with the Academy of Vocal Arts. Last season, he sang Ramfis in Aida with Estonian National Opera and Salieri in Rimsky-Kosakov’s Mozart and Salieri with the Israel Chamber Orchestra, Bach’s Mass in B minor with the Saint Petersburg Symphony and Shostakovich’s Symphony No. 14 with the Jerusalem Camerata Orchestra.

Mr. Sedov’s recent international engagements include his debut with the Royal Opera House at Covent Garden as Figaro in Le nozze di Figaro, Basilio in Il barbiere di Siviglia with New Israeli Opera, the title role of Boito’s Mefistofele in a return to the Orquestra Sinfônica do Theatro da Paz, Leporello in Don Giovanni under Denis Sedov, bass the baton of Riccardo Muti at Teatro pera News hails Denis Sedov as alla Scala, and Colline in La bohème O “tall and commanding, gifted at Paris Opera. Also in Paris, he sang with a splendid physique and a bass to the title role in Don Giovanni and match” and for his ability to “seduce Count Rodolfo in La sonnambula at the Opéra Comique as well as in Florence. with his voice as well as with his Further performances include Il Re presence.” In the 2016/17 season he di Scozia in Ariodante at the Gran joins the St. Petersburg Festival “All Teatre del Liceu in Barcelona, Don Together Opera” for his debut in the Profondo in Il viaggio a Reims with title role of Glinka’s Ruslan and Ludmila, La Monnaie, Timur in Turandot at the Shanghai Symphony Orchestra Opéra de Montréal, King Henry VIII for Commendatore in Don Giovanni, as in Anna Bolena in Torino, Selim in Il well as Opéra de Baugé in France for turco in Italia in Marseille, Mustafa in Pubblio in La clemenza di Tito. Mr. Sedov L’italiana in Algeri with Opéra du Rhin, also sings Shostakovich’s Symphony Walter in Luisa Miller in Bordeaux, the

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54 May 4, 2017 tutor in Le Comte Ory in Toulouse, National Opera; Raimondo in Lucia Oroveso in Norma, and Colline in di Lammermoor with Pittsburgh La bohème at the Teatro Colón, Don Opera, Giorgio in I puritani with Giovanni at the Teatro Municipal de Seattle Opera; Escamillo in Carmen Santiago, Rossini’s Maometto Secondo and Achilla in Giulio Cesare with San in Strasbourg, Colline in La bohème, Francisco Opera; Sarastro in Die more performances of Ariodante with Zauberflöte with Atlanta Opera; Assur Les Musiciens du Louvre, Sarastro in in Semiramide with Minnesota Opera; Die Zauberflöte with Opéra de Lyon, Leporello in Don Giovanni with Palm Somnus and Cadmus in Semele with Beach Opera; Méphistophélès in Opéra de Nice and at the Aspen Music Faust, Gremin in Eugene Onegin, Colline Festival, Frere Laurent in Roméo et in La bohème, and Lodovico in Otello Juliette with Opéra de Montreal and with Cincinnati Opera; and Il Re in at the Teatro Municipale Giuseppe Aida at the Aspen Music Festival. Verdi di Salerno, Escamillo in He recorded Handel’s Ariodante Carmen with the Asociacion Gayarre with Marc Minkowski conducting Amigos de la Opera in Pamplona, Les Musiciens du Louvre (Deutsche and Daland in Der fliegende Holländer Grammophon). He also recorded with the Orquestra Sinfônica do the role of Soliony in the world Theatro da Paz. He has also sung premiere of Trois Soeurs by Peter further performances of Sarastro Eötvös (Deutsche Grammophon), in Die Zauberflöte and Seneca in having originally performed the role Monteverdi’s L’incoronazione di Poppea at Opéra de Lyon and the Chatelet. He at Aix-en-Provence in a production also joined the Cleveland Orchestra that he repeated in Vienna and Paris. conducted by Pierre Boulez for Additionally, he created the role of Berlioz’ Roméo et Juliette (also on Ledo Jiménez in the world premiere of Deutsche Grammophon) and the Carlos Vázquez’ La mina de oro in San Atlanta Symphony Orchestra for Juan, Puerto Rico. Colline in La bohème conducted by Robert Spano (Telarc). He made his Metropolitan Opera debut as Colline in La bohème Denis Sedov is an equally engaging after having been one of very concert singer, and recently joined few non-American singers ever Christoph Eschenbach and the invited to join the company’s Orchestre de Paris for Mahler’s prestigious Lindemann Young Artist Symphony No. 8 (performances Development. He has since joined of which have been released the company Orlick in Mazeppa and commercially on DVD) as well as on tour in Japan for its production the Quebec Symphony, American of Don Giovanni. Other American Symphony Orchestra, and Vancouver engagements include Nourabad in Symphony for the same work. He Les pêcheur de perles with Washington has sung the Chamberlain in concert

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56 May 4, 2017 performances of Stravinsky’s Beethoven’s Symphony No. 9. He has Le rossignol with Robert Spano also appeared with major orchestras conducting the Atlanta Symphony throughout Israel including the Israel Orchesra in Atlanta and on tour to Philharmonic Orchestra in Berlioz’ Carnegie Hall in addition to joining Damnation of Faust and Verdi’s Otello the orchestra for Rachmaninoff’s under the baton of Pappano. He The Bells. He also sang the Seder sang Zoroastr in Orlando and Bach’s Leader in Dessau’s Hagadah Shel St. Matthew Passion with Al Ayre Pesach with the American Symphony Español. A worldwide audience of Orchestra, Stravinsky’s Les noces with television viewers saw Mr. Sedov sing the Virginia Arts Festival, further the Beethoven’s Symphony No. 9 in performances of Le rossignol with Japan conducted by Seiji Ozawa as the Teatro Municipal in São Paulo, part of the winter Olympics in 1998. Mendelssohn’s Elijah and Berlioz’ L’enfance du Christ at the Spoleto Festival U.S.A., Mozart’s Requiem with the Orquestra Sinfônica Brasileira, Shostakovich’s Song of the Forest at the Grant Park Music

Festival, further performances of Photo by Lisa Keating Rachmaninoff’s The Bells with the Orquesta del Palau de la Musica in Valencia, Prokofiev’s Ivan the Terrible with the Orquesta Filarmónica de Málaga, Verdi’s Requiem with the Orquesta Filarmônica de Minas Gerais and Jacksonville Symphony Orchestra, Bach’s Christmas Oratorio with the Mitteldeutsches Kammerorchester on Sylt Island, and the world premiere of Carlos Alberto Vazquez’ Requiem Domesticus at the Casals Festival in Puerto Rico and a new song cycle by the same composer with the Puerto Rico Symphony. He sang Haydn’s Creation for the Vlaamse Opera in Antwerp Marika Kuzma, chorusmaster with Minkowski conducting and in Bordeaux. The bass made his debuts arika Kuzma is widely known with the Los Angeles Philharmonic M as a versatile conductor whose singing Verdi’s Requiem and repertoire spans various cultures and San Francisco Symphony with centuries. She returns to Berkeley

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58 May 4, 2017 Symphony, having prepared choirs daughter of Ukrainian immigrants, for several of our concerts in recent she has a particular affinity for years: Adams Death of Klinghoffer, Slavic music. Her dissertation on Mozart Requiem, and MacMillan Seven Slavic music won the American Last Words. In the 1990s, she also Choral Directors Association served as an assistant conductor Herford Prize, her recording of to the BSO, conducting children’s the Bortniansky choral concertos concerts and co-conducting the was released on Naxos Records American premiere of Takemitsu’s in 2013, and her critical edition of Gemeaux alongside Kent Nagano. the concertos was published by As a Professor of Music and choral Carus International in 2016. She has director at UC Berkeley for twenty- given talks and published articles five years, she led its University on Bortniansky, Rachmaninoff, Chorus and Chamber Chorus in and Stravinsky internationally, works ranging from medieval chant including lectures at the Kiev and to premieres of new music. Among Moscow Conservatories. Kuzma the more memorable concerts that also has a love of theater—having she conducted on campus were appeared on stages in her home Carmina Burana (original medieval state Connecticut, New York version), Bach St. Matthew Passion, City, San Jose, San Francisco, Haydn Creation, Verdi Requiem, and Toronto—and has often Britten War Requiem, Reich Tehillim, incorporated theatrical elements in and Feldman, Rothko Chapel. Her her concerts. choirs were often invited by Cal Performances to collaborate with luminary artists such as Gustavo Alumni of the Chamber Dudamel, Nicholas McGegan, Mark Chorus of the University Morris, and Esa-Pekka Salonen. of California, Berkeley Outside of the Bay Area, Kuzma has served as chorusmaster for he Chamber Chorus of the Kent Nagano and the Montreal T University of California has a Symphony Chorus (2007-09) as long tradition of choral excellence well as the Youth Orchestra of the under its directors Philipp Brett, Americas in Brazil, the Oakland John Butt, Marika Kuzma, and Symphony Chorus, the Oklahoma continuing with its current director City University Chorus, University (since 2016) Magen Solomon. The Singers at the University of Virginia, choir’s history includes recordings and Handel Society of Dartmouth with Philharmonia Baroque on College. Kuzma has a keen ear for the harmonia mundi label, one of languages, and her choirs are often them receiving a Grand Prix du praised for their clarity of diction Disque and a Grammy nomination. and expressiveness of phrasing. The It has also premiered and recorded

May 4, 2017 59 works by major American composers The chorus for this evening’s concert including Richard Felciano, The includes alumni dating back to the Seasons; Morton Feldman, Rothko 1990s, and it includes recent alumni of Chapel; Lou Harrison, La Koro Sutro; the UC University Chorus. and Jorge Liderman, Song of Songs. While under Ms. Kuzma’s direction, St. John of San Francisco the chorus toured Eastern Europe, Russian Orthodox Chorale Brazil, and across America. It was often invited to perform with he St. John of San Francisco professional ensembles under T Men’s Chorale was formed conductors including Gustavo in November of 1996 by Deacon Dudamel, Michael Morgan, Kent Vadim Gan. After being disbanded Nagano, and Esa-Pekka Salonen as for several years, it reformed to well as Joana Carneiro. Several of its participate in the University of collaborations with the Mark Morris California, Berkeley’s presentation of Dance Group enjoyed glowing reviews Sergei Rachmaninoff’s All-Night Vigil, in the New York Times, Opera News, conducted by Marika Kuzma, in 2004. San Francisco Chronicle, Wall Street After that concert, the choir went Journal. Among its most memorable on to produce two CDs of Orthodox collaborations in the last decade are sacred music, titled Rejoice in Song King Arthur with Mark Morris Dance and Chrysostom. The choir’s repertoire Group (Cal Performances), Harrison spans the musical tradition of the La Koro Sutro with the American Orthodox Church from the 13th to the Gamelan Orchestra (BAM), Rothko 21st centuries. Chapel with the Abel-Steinberg- Winant Trio (BAM), and Bach B Minor Pacific Boychoir Academy Mass. In 2013/14, the chorus was invited to sing in prestigious concerts he Pacific Boychoir is the of contemporary choral music at T only boys’ chorus in Oakland, Weill Recital Hall/Carnegie Hall and California, United States. The chorus at St. Paul’s Chapel in New York. was formed in 1998 with six boys, Among the alumni of the chorus are and it now includes more than 175 soprano Clarissa Lyons, who recently singers from ages 4 to 18. The New York made her Metropolitan Opera debut, Times said the PBA goes “beyond the soloists in European opera houses, reach of most youth choirs” and the soloists with Early Music and New Los Angeles Times described the PBA Music ensembles, a principal studio quality of sound and musicianship singer in Los Angeles, award-winning as “astonishing.” The Founding Music choral composers, orchestral and Director is Kevin Fox, who sings with choral conductors across the United the American Bach Soloists and the States, and choral singers in elite Grace Cathedral Choir of Men and choral ensembles internationally. Boys.

60 May 4, 2017 will direct G.B. Shaw’s Widowers Houses next season at the Aurora Theatre Co.

Joy Carlin, director

oy Carlin is an award-winning J actress and director and an Bonnie Akimoto, actor honored teacher, whose talent onnie Akimoto recently and commitment have made her B appeared in TheatreFirst’s a legend in Bay Area arts. She has premiere of Beneath The Tall Tree. appeared on and off Broadway, with Bonnie has performed extensively regional and summer theatres, in with many other Bay Area theaters television and films, most recently including Aurora Theatre Company, in Woody Allen’s Blue Jasmine. Thick Description, San Jose Stage Ms. Carlin’s local roots are deep. Company, TheatreWorks, California Throughout her career, she has Shakespeare Festival, and Berkeley acted or directed at nearly every Bay Rep among others. Outside of the Area theatre. She has taught acting Bay Area she has performed with at UC Berkeley and in 1969 joined the Oregon Shakespeare Festival, American Conservatory Theater, Mixed Blood Theatre Company, the where she performed leading Contemporary American Theater roles, directed, and taught in the Festival, and Ford’s Theatre. She Conservatory. She was an Associate premiered Russian playwright Artistic Director there from 1987- Gennady Mamlin’s On The Edge in 92, and Interim Artistic Director at Louisville, Kentucky; Moscow and Berkeley Repertory Theatre in 1984. Yaroslavl, Russia. She was awarded She has a longstanding relationship the Bay Guardian Goldie in Acting, a with Berkeley Symphony, having Dean Goodman Choice Award, and performed with Kent Nagano and was nominated for a Bay Area Critics’ the orchestra in Bluebeard, Luna Tree, Circle Award. TV: Nash Bridges; Film: and The Brementown Musicians. She The Pursuit of Happyness.

May 4, 2017 61 Ado About Nothing; Polixenes and Leontes in Winter’s Tale; Navarre in Love’s Labor’s Lost; Bolingbroke in Richard II; Duke Solinus in Comedy of Errors; Laertes in Hamlet; Dukes Frederick and Senior in As You Like It; La Feu in All’s Well That Ends Well; Dr Chasuable in The Importance of Being Earnest; Vincent Crummels in Nicholas Nickleby; Roebuck Ramsden in Man and Superman; and Colonel Pickering in Pygmalion.

Since 2009, Mr. Callender has served as Artistic Director of the African- American Theater Company—proud recipient of the Paine Knickerbocker L. Peter Callendar, actor Paine Award for continued native of Trinidad in the West contribution to Bay Area Theater. Mr. A Indies, L. Peter Callender has Callender is a visiting professor at worked professionally as an actor for Stanford University teaching Acting over thirty years, and more recently Shakespeare. as a director and writer. He received his formal training in the theater at the Juilliard School in New York City; Webber/Douglas Academy in London, England; Mask Technique with Julie Taymor; and The Suzuki Technique with The Tadashi Suzuki Company in Toga-mura, Japan. He has appeared on Broadway, off-Broadway, in regional theaters across the US, and has performed internationally in Japan, England, and France.

Mr. Callender has been an Associate Artist at the California Shakespeare Theater since 1994. Some favorites roles at CalShakes include: the title roles in Julius Caesar and Cymbeline; Arje Shaw, actor Oberon in Midsummer Night’s Dream; Capulet in Romeo and Juliet; Orsino r. Shaw is a playwright, actor in Twelfth Night; Leonato in Much M and producer best known for

62 May 4, 2017 The Gathering, produced on Broadway dark comedy is opening Off in 2001 following the Off Broadway Broadway in 2017. Mr. Shaw’s one production with Theodore Bikel man play, Freddy Goes Solo is in and Jesse Eisenberg. He has written development. sit-coms for ABC Network and is Mr. Shaw is also a singer and presently co-producer of the hit creator of The Sonnet Man, Hip musical, Love Sick. Hop Shakespeare Fusion starring Mr. Shaw’s, comedy, A Catered Affair Hip Hop Artist Devon Glover. was produced Off Broadway in He’s collaborating with Maggie 1994. Magic Hands Freddy, 2004, at Silverman and Devon Glover on a The Soho Playhouse with Ralph rap guide book to New York City for Maccio. The Fix, his debut novel kids. He teaches a course on writing was published in 2011. Moolah, a comedy at The Berkeley Rep School.

world premiere of David Mamet’s November. He played “The King” in the Tony Award winning production of the Broadway National tour of The King and I and was seen as Scar in the Los Angeles production of The Lion King. Mr. Talmadge boasts extensive film and television credits having worked with Francis Ford Coppola, William Friedkin, Joe Johnston David Fincher and Michael Apted and most recently had a recurring character the TV series, Manhattan. As a playwright, his play, The Gate Of Heaven, was awarded The Nakashima Peace Prize. It was the first live theater to be produced at The U.S. Holocaust Memorial and has been subsequently performed at The Old Globe Theater, Fords Theater, and Victor Talmadge, actor The Annenberg Center, as well as ictor Talmadge has worked in Bay various venues around the country. V Area theater since 1989. He has He is currently Professor and appeared in New York and regional Director of Theater Studies, Mills theaters and was on Broadway in the College.

May 4, 2017 63 64 May 4, 2017 Berkeley Symphony photo by Dave Weiland

erkeley Symphony is unique to the culturally diverse people B among American orchestras: and the heady creative climate of founded in 1969 in the intellectual their home city. Thomas Rarick, and artistic nexus of Berkeley, a protégé of the great English California; led by the restlessly maestro Sir Adrian Boult, founded innovative Music Director the orchestra in 1969 as the Joana Carneiro and Executive Berkeley Promenade Orchestra. Director René Mandel, an actively Reflecting the spirit of the times, performing violinist; committed musicians performed in street to premiering and commissioning dress and at unusual locations such new music, including a as the University Art Museum. disproportionate amount of music When Kent Nagano became the written by women; and sustained music director of the orchestra in by the supportive musical 1978, he charted a new course by environment of Berkeley, the East offering innovative programming Bay, and the San Francisco Bay that included a number of rarely Area. performed 20th-century works and From the outset, the people behind numerous premieres. The renamed Berkeley Symphony’s culture Berkeley Symphony Orchestra and programming were attuned gained an international reputation

May 4, 2017 65 for its adventurous programming, with the Orchestra in the 2016/17 and became known for premiering season. Noted for her vibrant the music of international performances in a wide diversity composers and showcasing of musical styles, Carneiro has young local talents. During the attracted considerable attention 30 years he served as music as one of the most outstanding director, Nagano established an young conductors working today. international reputation as a gifted In addition to her role at Berkeley interpreter of both the operatic Symphony, Carneiro has a thriving and symphonic repertoire. Nagano international conducting career, stepped down from his post at as principal conductor of the Berkeley Symphony in 2008, after Orquesta Sinfonica Portuguesa, his 30th anniversary season. official guest conductor of the In January 2009, Portuguese Gulbenkian Orchestra, and many conductor Joana Carneiro became other conducting engagements for the orchestra’s third Music orchestras and opera companies Director in its 40-year history. throughout the world. She begins her eighth season Carneiro and Berkeley Symphony

66 May 4, 2017 are continuing the orchestra’s recently active composers, and 19 steadfast commitment to percent of those living composers presenting original and unique are women. Berkeley Symphony’s programs, with a 2016/17 leadership in commissioning season that combines time- and performing new music has honored classics with important been acknowledged with the contemporary works and newly prestigious ASCAP Adventurous commissioned music, including Programming Award in 10 of the a commissioned world premiere past 12 seasons. of an orchestral work from Paul Since it began, Berkeley Dresher and a co-commissioned Symphony’s commitment to West Coast premiere of James fostering the work of new and MacMillan’s Symphony No. 4. established composers has Under Carneiro’s direction, the brought success and international orchestra has maintained the prominence. In 1981, the renowned highest standard of musical French composer Olivier excellence as she continues to Messiaen journeyed to Berkeley cultivate new relationships and to assist with the preparations conduct the work of prominent for his imposing oratorio The contemporary composers such as Transfiguration of Our Lord Jesus John Adams, Esa-Pekka Salonen, Christ. Nagano and the orchestra, Brett Dean, Kaija Saariaho, joined by the composer’s wife, Edmund Campion, Gabriela Lena pianist Yvonne Loriod, gave a Frank, Mason Bates, Samuel sold-out performance in Davies Adams, Mark Grey, Paul Dresher, Symphony Hall. In 1984, the and James MacMillan, among Orchestra collaborated with Frank others, while showcasing the Zappa in A Zappa Affair, a critically classical masterworks. acclaimed production featuring As of the conclusion of the 2015/16 life-size puppets and moving stage sets, catapulting Berkeley season, Berkeley Symphony has Symphony onto the world stage. performed 64 world premieres, 28 U.S. premieres, and 21 West Celebrated British composer Coast premieres since the George Benjamin was first 1980/1981 season. Over the past introduced to the Bay Area in 35 seasons, nine percent of the 1987 when Berkeley Symphony new works were commissioned performed his compositions or co-commissioned by Berkeley Jubilation and Ringed by the Flat Symphony. Forty-four percent of Horizon. Thomas Adès’ opera, the music performed in the last 15 Powder Her Face, was debuted by seasons was written by living or the orchestra in a concert version

May 4, 2017 67 in 1997 before it was fully staged District (BUSD) to produce in New York City, London, and the award-winning Music in Chicago. In 2003, Naomi Sekiya the Schools program, led by was named the orchestra’s first Conductor and Education Director Composer-in-Residence. Her Ming Luke. Music in the Schools Sinfonia delle Ombre and Concerto offers comprehensive, age- for two guitars and orchestra appropriate music curricula to received their world premieres more than 4,600 local elementary that year. The orchestra also and middle school students each commissioned her Manzanar: An year. Over 200 inclass sessions American History (2005), co-written are led by Berkeley Symphony with Jean-Pascal Beintus and musicians at all eleven BUSD David Benoit. Berkeley Symphony elementary schools each year. performed the U.S. premiere of Classroom sessions include Unsuk Chin’s Violin Concerto in hands-on music education 2004; the piece won one of the and curriculum guides for world’s most prestigious music teachers designed to meet state composition prizes. Recent standards for music education. orchestra-commissioned works In the middle schools, Berkeley include Mark Grey’s Frankenstein Symphony (2016, co-commissioned Symphony musicians lead 130 with Atlanta Symphony Orchestra); ensemble coaching sessions, 22 Oscar Bettison’s Sea Shaped (given master classes, and six ensemble its world premiere in 2014); Samuel adjudications each year. “Meet the Adams’ Violin Concerto (world Symphony” and “I’m a Performer!” premiere, 2014), and Gabriela Lena concerts take place in BUSD Frank’s Holy Sisters (world premiere, elementary schools, providing 2012). young musicians opportunities to rehearse and perform side-by- Under the baton of Music Director side with Berkeley Symphony. Four Joana Carneiro, the Orchestra annual Family Concerts provide performs four concerts a year in Zellerbach Hall, on the UC Berkeley opportunities for students, campus. Berkeley Symphony also their families, and community presents Berkeley Symphony & members to experience a Berkeley Friends, an annual chamber music Symphony concert together. All series in association with the Music in the Schools programming Piedmont Center for the Arts. is provided free of charge for children and their families. A national leader in music education, the Orchestra partners For more information, please visit with the Berkeley Unified School www.berkeleysymphony.org.

68 May 4, 2017 McCUTCHEON

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70 May 4, 2017 Music in the Schools

ore than 4,600 school children Meach year benefit from Berkeley Symphony’s Music in the Schools program:

• Over 200 In-Class Sessions are provided photo by Dave Weiland free of charge and include curriculum booklets with age-appropriate lessons addressing state standards for music education. • Over 150 Ensemble Coaching Sessions and master classes in area middle schools. Music in the Schools Sponsors • Eleven Meet the Symphony concerts are (Gifts of $2,500 and above annually) performed free of charge in elementary Anonymous (4) schools each fall. Susan & Jim Acquistapace • Six I’m a Performer concerts, also free Gertrude Allen of charge, provide young musicians with Mark & Cynthia Anderson an opportunity to rehearse and perform John & Michelle Battelle with Berkeley Symphony. Paul & Laura Bennett • Four free Family Concerts provide an Berkeley Public Schools Fund opportunity for the whole family to Bernard Osher Foundation experience a Berkeley Symphony California Arts Council concert together. Ronald & Susan Choy Dean Francis All Music in the Schools programs are Jill Grossman provided 100% free of charge to children The Familian Levinson Foundation and their families. We are grateful to the Ann & Gordon Getty individuals and institutions listed on this Ms. Ann Fischer Hecht page whose financial contributions help Kathleen G. Henschel & John W. Dewes make Music in the Schools possible. But more Mr. & Mrs. Robert Edward Kroll help is needed to fully fund the program . . . Sarah Coade Mandell and Peter Mandell Please join those making Music in the Meyer Sound Laboratories, Inc. Schools a reality! Donate online and Marcia Muggli & Ed Osborn designate your gift as “Restricted—Music Music Performance Trust Fund in the Schools Program.” Or simply mail a National Endowment for the Arts contribution to: Berkeley Symphony, Music Thomas W. Richardson & Edith Jackson in the Schools Fund, 1942 University Ave. Tricia Swift Suite #207, Berkeley, CA 94704 Union Bank Foundation Shariq Yosufzai & Brian James www.berkeleysymphony.org/mits Thanks also to those giving up to $2,500 annually.

May 4, 2017 71 SpEciAl hAnd-mAde chOcOlatES tO SurpriSE And inSpirE yOur tAStE budS

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72 May 4, 2017 2016/17 Membership Benefits Ticket sales cover only a portion of concert expenses. And our Music in the Schools program— offered free of charge to thousands of children each year—is entirely Membership-driven! Your Membership makes Berkeley Symphony thrive, and provides many opportunities to make the most of your concert-going experience. Consider adding a Membership to your subscription—or increase your level of Membership in support of the 2016/17 season.

Friends Circle of Members Supporting Member: $100+ • Advance e-newsletter notice of discounts and special events. • Listing in season concert programs. Associate Member: $300+ (All of the above plus . . .) • Invitation for two to an open rehearsal of the orchestra. Principal Member: $750+ (All of the above plus . . .) • Invitation to select special events including post-concert receptions with Music Director Joana Carneiro, musicians, soloists and/or visiting composers. Symphony Circle of Members Concertmaster: $1,500+ (All of the above plus . . .) • Invitations to two exclusive Symphony Circle Salon Receptions hosted by Music Director Joana Carneiro. • Two free guest concert passes. Conductor: $2,500+ (All of the above plus . . .) • Invitations to all exclusive Symphony Circle Salon Receptions hosted by Music Director Joana Carneiro. • Invitation to an exclusive Musicians’ Dinner and “closed” rehearsal for you and guests. Sponsorship Circle of Members Founding Sponsors: $5,000+ (All of the above plus . . .) • VIP access to Berkeley Symphony intermission Sponsors’ Lounge at Zellerbach Hall. • Opportunities to be recognized as a concert sponsor, musician sponsor, or guest soloist sponsor. • Special “Sponsorship Dinner” opportunities with Music Director Joana Carneiro. • A total of four or more free concert guest passes.

May 4, 2017 73 74 May 4, 2017 Annual Membership Support

Thank you to the following individuals for making the programs of Berkeley Symphony possible. A symphony is as strong as the community that supports it. Thank you to the following individuals for making Berkeley Symphony very strong indeed. Your generosity allows the defiantly original music to be heard, commissions world-class composers, and impacts the lives of thousands of children in hundreds of classrooms each year.

Gifts received between April 1, 2016 and April 1, 2017

Sonsorp Circle GIFTS

Season Sponsors Founding Sponsors $50,000 and above $5,000 and above Ann & Gordon Getty Anonymous Kathleen G. Henschel & John W. Dewes Mark & Cynthia Anderson Helen & John Meyer Ronald & Susan Choy Shariq Yosufzai & Brian James Oz Erickson & Rina Alcalay Sandra & Kit Floyd Season Sponsors $25,000 and above Ellen Hahn Anonymous (2) Jennifer Howard & Tony Cascardi Margaret Dorfman and the Ralph I. William Knuttel Dorfman Family Fund Bennett Markel Gertrude Allen Natasha Beery & Sandy McCoy Peter Mandell & Sarah Coade Mandell Pat & Merrill Shanks Ed Osborn & Marcia Muggli Paul Templeton & Darrell Thomas W. Richardson & Edith Jackson Louie Jan & Michael McCutcheon Tricia Swift SYMPHONY Circle GIFTS Executive Sponsors $10,000 and above Conductor Level Susan & Jim Acquistapace $2,500 and above Paul & Laura Bennett Anonymous Dean Francis John & Michelle Battelle Jill Grossman Judith L. Bloom Mr. & Mrs. Robert Edward Kroll Gray Cathrall Janet & Marcos Maestre Marilyn & Richard Collier Deborah O’Grady & John Adams Kathleen Crandall & Lori Gitter Lisa & James Taylor Ms. Dianne Crosby

May 4, 2017 75 Conductor Level Deborah Shidler & David Burkhart $2,500 and above (continued) Kathy Canfield Shepard & John Gloria Fujimoto Shepard Jeff Leiter & Sue Hone Joy Carlin Gary Glaser & Christine Miller Ms. Carol Christ Ms. Ann Fischer Hecht John & Charli Danielsen Buzz & Lisa Hines Karen Faircloth Ken Johnson & Nina Grove René Mandel Bebe & Colin McRa Patrick McCabe Noel & Penny Nellis Concertmaster Level Michael & Becky O’Malley Gifts of $1,500 or more Betty Pigford Anonymous Ditsa & Alexander Pines Jim Tibbs & Philip Anderson Thomas & Mary Reicher Sallie & Edward Arens Marc A. Roth Michele Benson Norman A. Bookstein & Ed Vine & Ellen Singer-Vine Gillian Kuehner Anne & Craig Van Dyke

F rIENDS of Berkeley Symphony GIFTS

Principal Level Helen Marcus & David Fred & Elizabeth Balderston Williamson $750 and above Ms. Joan Balter Lois & Gary Marcus Anonymous Berkeley Symphony Robert McKee Ronald and Patricia Adler Christel & Jurg Bieri Lance & Dalia Nagel Allison Baker George and Dorian Bikle Marjorie Randolph Phyllis Brooks Schafer Carl Blumenstein Suzanne Riess Crystal & Craig Bryant Stuart and Virginia Canin Robert Sinai & Susanna Richard & Christine Colton Schevill Mark Chaitkin & Cecilia Anita Eblé Michel Taddei Storr Doris Fukawa & Marijan Dr. Charles M. Crane Pevec Associate Level Sara and Bill Cumbelich Daniel & Kate Funk $300 and above Joe & Sue Daly Theresa Gabel & Timothy Zumwalt Anonymous Franklyn & Joslyn D’Antonio Chuck & Olivia Hasty Dr. Henry L. Abrons & Dr. Dennis & Sandy De Li-Hsia Wang Domenico Connemara Fund Joel Altman Lisa Delan Fredric Jacobson & Mary Karthiga Anandan Murtagh Elliott and Liz Deloach & Luckshman Arthur & Martha Luehrmann Parameswaran Carolyn Doelling Maryam Malek Mark Attarha & Nahid Nassiri Sheila Duignan

76 May 4, 2017 Associate Level Carrie Shores Ms. Mary Ellen Fine $300 and above (continued) John Skonberg Tom and Tallie Fishburne Jack and Ann Eastman Wallace Smith Mr. Bruce G Fitch Gini Erck & David Petta Scott Sparling Marcia Flannery Karen Fagerstrom Geoffrey S. Swift Jeremy Fookes Christopher Flynn Marta Tobey Ednah Beth Friedman Jim Foley Linda & Steven Wolan Isabelle Gerard Mr. Michael Fried Nancy & Charles Wolfram Marianne & John Gerhart Peggy Griffin Jeffrey Gilman & Carol Reif Stuart & Sharon Gronningen Supporting Level Judith A. & Alexander J. Glass Bonnie & Sy Grossman $100 and above Joan Glassey Sophie Hahn & Eric Bjerkholt Anonymous (4) Edward C Gordon Scott Hamilton Caroline Acquistapace Harold Graboske Alan Harper & Carol Baird Robert Allen Steven E. Greenberg Trish & Tony Hawthorne Robert and Evelyn Apte Elaine Grossberg Lynne La Marca Heinrich Barbara Armentrout Jessie Guiton Valerie & Richard Herr Carolyn & Richard Beahrs Ervin & Marian Hafter Mark & Lynne Humphrey William W. Beahrs Ms. Catherine A Hebert Richard Hutson Anna Bellomo & Joshua Bloom William & Judith Hein Tineke Jacobsen Edward Bennett Florence Hendrix Richard & Miki Keldsen Elaine & David I. Berland Maj-Britt Hilstrom Benjamin Kimmich Sandra Bernard Deborah & Eric Asimov Mr. & Mrs. William Knowland Ms. Bonnie J. Bernhardt Cecilia Hoover Phyllis Isaacson John C. Lamar Allison Binns Isaac Kaplan and Sandra Nancy Lehrkind Laura & Scott Bovard Kaplan Schwarcz Jacqueline Leventhal Elizabeth Raymer & Ragna David Kessler & Nancy Mennel Marcy Wong & Donn Logan Boynton Elie Khadra Kim & Barbara Marienthal Cara Bradbury Kate Knuttel Carrie McAlister Robin Bradley Penelope Kojima & Russell Howard & Nancy Mel Suzanne & Italo Calpestri Hyzen Ms. Karen Meryash Zeo & Terry Coddington Laura and Paul Kuhn Geraldine and Gary Morrison Frederick & Joan Collignon Sam & Tamara Kushner Barbara Persons Dr. Lawrence R. Cotter Alison Taylor Lange Milanendra Piterman Chris D’Ambra Colleen Larkin Pooj & Dianna Preena Harold Davis Andrew Lazarus & Naomi Erin & Mark Rhoades Jan Davis Janowitz Donald A. Riley and Carolyn Ms. Mavis Delacroix Catherine Lloyd Serrao Robert & Loretta Dorsett Jonatan Malis Ms. Polly Rosenthal Beth & Norman Edelstein Andraya Martin Constance Ruben Ilse & James Evans Alex & Nancy Mazetis Eric Rudney Bennett Falk & Margaret Suzanne and William McLean Linda Schacht & John Gage Moreland Jim & Monique McNitt Tony Schilling David Favrot Susan Messina Margaret Seely Richard Finch Junichi & Sarah Miyazaki

May 4, 2017 77 78 May 4, 2017 Supporting Level Francoise Rees Maria Tamburrino $100 and above (continued) Barbara & Nigel Renton Frances & Ronald Tauber Emma Moon Terry Rillera Monica Thyberg Michael Gray & Eileen Murphy Lawrence Rinder Randy & Ting Vogel Ms. Ruth Okamoto Nagano Helene T Roos David & Marvalee Wake Ms. Anita Navon Julianne H. Rumsey Andrew Walmisley & Jonathan Allen Ms. Dianne Nicolini George Scharffenberger Sim Warcov & Gretta Mitchell John Nuechterlein Steven Scholl Robert & Emily Warden Lawrance Phillips Brenda Shank, M.D., Ph.D. David & Pennie Warren Therese M. Pipe James R. Shay & Steven F. Correll Steve Wasserman Manuel & Connie Pires Jack Shoemaker Gerald Weber Leslie & Joellen Piskitel Jessie Shohara Dr. George & Bay Westlake Anja Plowright Lynn Signorelli June Wiley & Bruce McCubbrey Wendy Polivka & Evan Painter Carl & Grace Smith Jen Wolan Lucille & Arthur Poskanzer Ms. Carla Soracco Nancy Wolfe Jo Ann & Buford Price Sylvia Sorell & Daniel Kane Mrs. Charlene M. Woodcock Gordon & Evie Wozniak Kathryn Price Bruce & Susan Stangeland Tia Stoller & Drew Detsch Nicole & Robert Wrubel Dr. & Mr. Megin Scully Reed Minuth David Stull Katinka Wyle

We thank all who contribute to Berkeley Symphony, including those giving up to $100 annually and those whose gifts have been received since press time. Recognition levels exclude fundraising event auction item purchases and purchases of base-level tickets to fundraising events. While every attempt has been made to assure accuracy in our list of supporters, omissions and misspellings may occur. Please call 510.841.2800 x305 to report errors. We appreciate the opportunity to correct our records.

Honor and Memorial Gifts Thank you for gifts made in honor or remembrance of the following individuals . . .

In Honor of: Thomas Richardson & Edith Jackson Judith Bloom Kenneth Johnson & Nina Grove Robin Bradley Tricia Swift Victoria Grey Sim Warcov & Gretta Mitchell Isaac Kaplan & Sandra Kaplan Schwarcz Linda & Steven Wolan

Marilyn & Richard Collier Elaine & David I. Berland In Memory of: Jordan Price and Kyle Gabler Jean Myer Radford Kathryn Price Barbara Myer Klein

Gifts received between April 1, 2016 and April 1, 2017

May 4, 2017 79 80 May 4, 2017 Annual Institutional Gifts

Berkeley Symphony is proud to recognize these corporations, foundations, community organizations and government programs. These institutions are supporting our communities through their commitment to Berkeley Symphony and the arts.

Gifts received between April 1, 2016 and April 1, 2017

$50,000 and above $2,500 and above The William & Flora Hewlett Chevron Foundation Music Performance Trust Fund Meyer Sound Laboratories, Inc. Union Bank Foundation

$25,000 and above Up to $2,500 Clarence E. Heller Charitable A.V. Thomas Produce Foundation Amazon Smile $10,000 and above Anchor Brewing Co Ann and Gordon Getty Epicurious Garden Foundation Microsoft Berkeley Public Schools Fund Soop Bernard Osher Foundation The Rudolph and Chevron Corporation Lentilhon G. von Fluegge Foundation, Inc. Clarence E. Heller Charitable Foundation The Tides Foundation The Familian Levinson Thornwall Properties Foundation The Grubb Co. Jill Grossman Family Charitable Fund Matching Gifts

McCutcheon Construction The following companies have National Endowment for the Arts matched their employees’ or retirees’ gifts to Berkeley Symphony. Please $5,000 and above let us know if your company does the same by contacting Ian Anonymous Harwood at 510.841.2800 x305 or California Arts Council [email protected].

City of Berkeley Anchor Brewing Co. Rudney Associates Chevron Corporation Wallis Foundation Genentech, Inc. Zellerbach Family Foundation Microsoft, Inc.

May 4, 2017 81 Broadcast Dates

Relive this season’s concerts on KALW 91.7 fm

KALW is proud to be Berkeley Symphony’s Season 2016/17 Media Sponsor

4 Mondays at 9pm in May 2017

Hosted by KALW’s David Latulippe

Program I: Oct. 13, 2016 will be broadcast on May 1

Program II: Dec. 8, 2016 will be broadcast on May 8

Program III: Jan. 26, 2017 will be broadcast on May 15

Program IV: May 4, 2017 will be broadcast on May 22

82 May 4, 2017 In-Kind Gifts Special thanks to these individuals and businesses whose generous donations of goods and services are crucial in helping Berkeley Symphony produce our concerts and education programs while keeping expenses as low as possible.

Ace Hotel Los Angeles Philharmonic Susan & Jim Acquistapace Richard Martin Ajanta Jan & Michael McCutcheon Anonymous Helen & John Meyer Eric Asimov & Deborah Hofmann Mueller Family Vineyards Aurora Theatre Company Music@Menlo Bancroft Hotel National Geographic Unique Lodges Natasha Beery & Sandy McCoy New World Symphony Berkeley Repertory Theatre Mitchell Newman George Boziwick Terry Pensford Cal Performances Philharmonia Baroque John Callahan—Callahan Piano Service Quivira Vineyards Kathy Canfield Shepard—Canfield Design Marjorie Randell-Silver—Copperleaf Studios Productions Gray Cathrall Thomas Richardson & Edith Jackson Chanticleer Saha Restaurant Chez Panisse San Francisco Ballet Claremont Club & Spa San Francisco Opera Richard Collier San Francisco Symphony Kathy Crandall & Lori Gitter Linda Schacht & John Gage Diablo Ballet Deborah Shidler Dyer Vineyard Shotgun Players Leah Garchik Suzanne Siebert Ann & Gordon Getty Hiram Simon Hans Fahden Vineyards Jutta Singh—Jutta’s Flowers Kathleen G. Henschel & John W. Dewes Tia Stoller—Stoller Design Group Buzz & Lisa Hines Tricia Swift Kenneth Johnson & Nina Grove Lisa & James Taylor Philippa Kelly Paul Templeton & Darrell Louie Todd Kerr Anne & Craig Van Dyke William Knuttel Yvette Vloeberghs Lama Beans Café Angela & William Young Alex Leff Michael Yovino-Young

May 4, 2017 83 BRING IN THIS AD TO RECEIVE A 1O% DISCOUNT ON ANY PURCHASE OF GIFTS AND FLOWERS

84 May 4, 2017 Administration Contact & Creative Staff Tickets available by phone, fax, René Mandel, Executive Director mail, e-mail, or online: Ian Harwood, Associate Executive Berkeley Symphony Director 1942 University Avenue, Suite 207, Sarah Thomas, Director of Operations Berkeley, CA 94704 510.841.2800 Fax: 510.841.5422 Andrew Leshovsky, Director of [email protected] Marketing www.berkeleysymphony.org Samantha Noll, Patron Services Manager find us on Mollie Budiansky, Development & Marketing Associate Cindy Michael, Finance Director Joanna Róz˙ ewska, Administrative Intern Jean Shirk, Public Relations Consultant Franklyn D’Antonio, Co-Orchestra Manager Joslyn D’Antonio, Co-Orchestra Manager Quelani Penland, Librarian David Rodgers, Jr., Stage Manager Stoller Design Group, Graphic Design Dave Weiland, Photography Elie Khadra, Videographer Johnson Digital Audio, Recording Engineer

Program Andreas Jones, Design & Production Stoller Design Group, Cover Design John McMullen, Advertising Sales Thomas May, Program Notes Calitho, Printing

May 4, 2017 85 Advertiser Index

A1 Sun...... page 34 Left Margin Lit...... page 58 The Academy...... page 33 Mancheno Insurance Agency . . . . page 50 Ackerman’s Servicing Volvo...... page 35 Margaretta K. Mitchell Photography. . page 54 Albert Nahman Plumbing...... page 32 Marlene Simas, Realtor® ...... page 46 Alward Construction...... page 30 Mason McDuffie...... page 30 Aurora Theatre Company...... page 66 Maybeck High School...... page 18 The Bay Grille at the DoubleTree Hotel. . . . McCutcheon Construction...... page 69 ...... page 80 Meritage ...... page 48 Berkeley City Club...... page 18 Mountain View Cemetery. . inside front cover Berkeley Optometry...... page 26 National Geographic Expeditions . . .page 74 Bill’s Footwear...... page 54 Oceanworks...... page 52 Blue’s Chocolates...... page 72 Pacific Boychoir Academy...... page 32 BuyArtworkNow.com ...... page 58 Pacific Union...... page 16 Cal Performances ...... pages 19, 64 Piedmont Gardens ...... page 14 Chanticleer...... page 28 Poulet...... page 56 The Claremont Club & Spa...... page 24 San Francisco Chamber Orchestra. . page 58 Coldwell Banker...... page 54 San Francisco Classical Voice. . . . . page 78 The College Preparatory School . . . .page 52 Savvy Rest ...... page 46 The Cooperative Cleaning Company.. page 36 Scharf Investments, LLC...... page 20 The Crowden School...... page 64 Star Grocery...... page 58 Dining Guide ...... page 48 Steve Deutsch Woodwinds...... page 50 Douglas Parking...... page 82 Storey Framing...... page 50 Eric Pomert, Film Editor...... page 50 Talavera...... page 33 The Faculty Club, UC Berkeley. . . . . page 23 Thornwall Properties...... page 22 Frank Bliss, State Farm...... page 10 Traverso Tree Service...... page 30 Going Places ...... page 54 Tricia Swift, Realtor. . . . . inside back cover The Grubb Co...... back cover Wooden Window...... page 35 Jutta’s Flowers...... page 84 Wells Fargo...... page 70 La Mediterranée...... page 48 Yovino-Young Inc...... page 46 La Note Restaurant Provençal. . . . page 48 ...... Please Patronize Our Advertisers!

to advertise in the berkeley symphony program, call john mc mullen 510.652.3879

86 May 4, 2017